Anime April Mayhem! Day 6, Underrated Manga Tag

Cover from Hayao Miyazaki’s Nausicaä of the Valley of the Wind

This is a rather fickle list to make because popularity shifts like the wind and people’s tastes are subjective to their interests. I thought long and hard on the underrated titles I wanted to highlight. At least half of them made it onto this list because no one talks about them anymore, and they have a very specified fan base. All in all, I think they deserve more love and attention.

For this tag, I’ll be listing a variety of manga I feel are underrated. Feel free to use this tag yourself and be sure to tag me into your post so I know it’s going around!

Let’s get started!

Enhanced by Jul26

Daytime Shooting Star, 2011-2014 by Yamamori, Mika 

If you’ve been following my posts for the last few days, yes, this manga has come up A LOT. It’s one of my favorites and is a well-rounded mature romance. Yamamori treats her characters well and doesn’t create “villain” like rivals. Instead she built up the eventual relationship for her main character Suzumi in a way that honored her feelings and experiences.

Yamamori’s art style and consistent quality artwork should be praised more.

D.N.Angel, 1997-? by Sugisaki, Yukiru 

Fans probably rate D.N.Angel‘s manga so low because of the anime. (It’s not good.) The original publisher, Tokyopop, of the English translation also went out of business about ten or so years ago so access to the manga volumes plummeted. This is unfortunate because Sugisaki’s artwork is hauntingly beautiful at times and her story is thought-provoking. She hasn’t released any new chapters in a long time, so the story is on hiatus for an indefinite time period.

From Far Away, 1991-2003 by Hikawa, Kyouko 

From Far Away is another manga that has popped up a few times the last few days. With how popular Isekai style manga and anime are nowadays, I think more people should know about Hikawa’s Fantasy adventure with its optimistic and compassionate character Noriko from Japan. It’s a very romantic story and it also teaches pivotal truths on individual worth, power, and choice and accountability.

Immortal Rain/Meteor Methuselah, 1998-2011 by Ozaki, Kaori 

Immortal Rain was fairly popular about fifteen years ago while Tokopop was publishing its volumes. However, once it went out of business access to the new volumes became impossible. Ozaki has a crisp, unique art style which is easily recognizable. She also has a knack for creating relatable, deep characters with identifiable motivations and problems. I hope VIZ media or another company chooses to re-translate it sooner than later. It is a really beautiful story. (Warning though! It has some mature content I wouldn’t recommend for younger readers.)

Tsubaki-chou Lonely Planet, 2015-2019 by Yamamori, Mika 

Much like Yamamori’s other work Daytime Shooting Star, I admire this story for its mature, more relatable take on relationships and communicating as a couple. I also really admired how she set specific boundaries in their relationship, giving them time to grow and eventually marry one another once Fumi was older. (The main characters havea big-ish age difference so it is important the author did this.)

Unlike Daytime Shooting Star, there is no English release for the manga volumes yet. There is also no anime. So sad. My hope is after Yamamori’s other series is completely released in English, VIZ media will also release Lonely Planet.

Love So Life, 2008-2015 by Kouchi, Kaede

(Yes, it is here again.) As far as Shoujo romances go, this is yet another more realistic take on relationships with bigger age gaps. I loved how Kouchi set up the romance between Shiharu and Matsunaga. There were not huge passionate scenes, however, they grew towards each other.

I am truly surprised more people don’t talk about this series. I am equally surprised it is no translated into English yet.

Mushishi, 1999-2008 by Urushibara, Yuki 

Some may argue this series is not underrated. However, looking over a lot of different blogs and lists these past few months I have barely ever seen anyone talk about this series. Perhaps its because its so difficult to buy the English translation for the manga. It also may be because it has a completely different appeal to it then big Shonen anime and manga like One Piece and Bleach.

Regardless, more people should know about and read this series. It has beautiful artwork, compelling mysteries, and it is utterly therapeutic to read. It will also make you think deeper about different aspects of human nature, especially with its relationship with nature and the spiritual world.

Nausicaä of the Valley of the Wind, 1982-1994 by Miyazaki, Hayao 

Miyazaki’s manga for his infamous animated film by the same name is the epitome of an underrated cult classic among manga fans. I only found it because, at 17, I was still working my way through all of Miyazaki’s films. When I watched the film I had this strange feeling something was missing from its story. So, I looked it up and found out he wrote a manga to better portray what had originally wanted for the story.

Its artwork and story are incredible. Miyazaki drew and wrote it himself and every page is a visual and literary delight for me. It suffers from the same problem Beserk does. It’s not a main stream genre so its looked over by general fans.

Psyren, 2007-2010 by Iwashiro, Toshiaki 

During the 2000’s a lot of people talked about Psyren. Since Iwashiro finished the manga though, no one talks about it anymore. I can for the life of me fathom it. It has great pacing, dynamic characters, and incredible artwork (especially how he drew teeth).

Silver Spoon, 2011-2019 by Arakawa, Hiromu 

Don’t get me wrong. I love Arakawa’s Fullmetal Alchemist more. However, that doesn’t mean I don’t think this manga is both hilarious and incredible. If anyone could get me interested in farming, its Arakawa. Silver Spoon draws a lot from her roots as a farming child. It might even be a small tribute to the world she grew up in.

Though it has an anime and a fairly large fan base, I think most readers skip over it because it is nothing like Fullmetal Alchemist. When they see Arakawa as the author, they must expect another great Shonen, action thriller. Instead, they get a well-rounded slice of life growing up story. Though it’s not for everyone, I still think the fan base needs to grow.

Yotsuba&!, 2003-? by Azuma, Kiyohiko 

Here we are again. It should probably be obvious Yotsuba&! is one of my favorite manga. The story is so down to earth and it’s so funny! Not as many people know about it though because it has no anime and not that much identifiable merchandise. (Shrug.) That’s the way it goes sometimes. Thankfully, at the very least there is an English translation for this manga readily available.

There you have it! I did treat this post as a possible tag other blog writers could use. Feel free to use it and be sure to tag me in there somewhere as the original creator.

Thank you for reading!

Anime April Mayhem! Day 5, Anime/Manga I’ll never do

Anime April Mayhem! Day 7, Best Artwork From Manga I’ve Read

See you tomorrow!

Anime April Mayhem! Day 2, Anime That Started It All Tag

To further kickoff my anime and manga month, I thought I would look back at the series which got me interested in exploring Japanese media. When I tell people I like reading manga and watching anime they are usually genuinely surprised because of my background in reading and historical writing.

I don’t hang posters, have fanart, or collect Japanese knick knacks. However, I’ve read and watched ALOT of anime and manga. I’m just more subdued about my interests.

I’ve had fun rediscovering the shows and books which first caught my attention. As you read, maybe you’ll discover something new or think about your own experiences.

Let’s get started!

Hayao Miyazaki‘s My Neighbor Totoro, 1988 (Tonari no Totoro)

When I was six or seven, my mother bought the VHS for this movie. I didn’t know who Hayao Miyazaki was, or how many beautiful movies he would proceed to make. I simply loved Totoro and Mei and Satsuki’s fun adventures. Eventually the VHS disappeared (the English copy we had had very obnoxious dubbing). Years later, I finally got another copy.

Dragonball Z Anime, 1989-1996 (Doragon Bōru Zetto) by Toei Animation

My brother spencer used to record DBZ on VHS tapes and send them to us to watch. I’m not sure why I loved this show so much, but every time a new recording or episode would come out, I ran to the TV to watch. I loved this show up through middle school till the middle of the Maten Bu season.

Pokémon Season 1 Anime, 1997 on TV Tokyo

Pokémon dominated 2nd and 3rd grade in Elementary school for me. I collected cards, re-watched the first season probably too many times, and loved each movie that came out. I’ve since moved on from this show, but I still have fond memories of watching it.

Yu☆Gi☆Oh!, 1998 by Toei Animation

Yep. I liked this show. I think it is because of the Egyptian-esque background. I thought the story was fun and didn’t notice the voice acting is questionable. I did own some Yu-gi-oh cards but never played the game. Gaming isn’t my thing usually, so my admiration for this show died after a few years.

Takaya Natsuki‘s Fruits Basket, 1998-2006 (Furuba)

I actually hated the idea of manga until I read this series. I was sixteen when my sister Jessica bought the first and second ultimate editions from Hastings. She and my other sister Melissa read them and loved them to pieces. Eventually, I sucked up my pride and asked if I could borrow them. Ever since then, this has become one of my all-time favorite works of literature.

CLAMP‘s Tsubasa: RESERVoir CHRoNiCLE, 2003-2009 (Tsubasa: Rezaboa Kuronikuru)

After reading Fruits Basket, I needed a new series to devour. I found the first two volumes of Tsubasa at Hastings and brought them home to read. I fell in love with the artwork, story, and overhanging mystery of it. The romance between Syaoran and Sakura really touched me as well.

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Bleach Movie 1: Memories of Nobody 2006/ Kubo Tite‘s Bleach, 2001-2016

My sister, Melissa, and I watched the first Bleach movie with friends, and I didn’t care it technically isn’t well done. I liked Senna’s autumn leaf reaper power and the main character Ichigo. The manga I read up until volume 27. I need to finish the Aizen conflict, but I don’t want to read further than that. 

Black Cat, 2005 on Tokyo Broadcasting System

My younger siblings and I LOOOOOOOOVED this show. I must have re-watched it at least twenty times in my late teens and early twenties. I accredit this to Train Heartnet, the show’s protagonist.

Hayao Miyazaki’s Howl’s Moving Castle, 2004 (Hauru no Ugoku Shiro)

Besides My Neighbor Totoro, I had never watched Hayao Miyazaki’s movies. Not even Spirited Away when it premiered on Cartoon Network. When I was sixteen, I found Howl’s Moving Castle online and watched it for the first time. It is one of my most memorable cinematic experiences. The story, animation, and characters were so magical to me.

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Hatori Bisco‘s Ouran High School Host Club, 2002-2010 (manga and anime)

Ouran is one of the funniest stories I have ever read. No joke. It is the satire of every Shoujo reverse-harem romance manga. I loved its concept and the characters. When I was a teenager, I loved Tamaki. As an adult, I am more interested like Mori. Maturity changes personal taste, apparently. The anime especially has beautiful coloring and animation, and creative screenplay. 

That’s all for today!

Anime April Mayhem! Day 1, Beautiful covers for aspiring art collectors

Anime April Mayhem! Day 3, “What Bugs You?” Anime Tag

If you like the tag, feel free to tag me and make your own list! See you tomorrow!

Beauty Around Us: Part 6, Japanese Animated Backgrounds II

Though it took awhile, here is the second part of my Japanese film section. Most of these are from Hayao Miyazaki, but all these films have beautiful imagery.

I Satoshi Kon

1. Millennium Actress (2001)

2. Tokyo Godfathers (2003)

3. Paprika (2006)

He will take a LONG time. His films are visually gorgeous.

II. Hayao Miyazaki

1. Nausicaä of the Valley of the Wind (1984)

2. Castle in the Sky (1986)

3. My Neighbor Totoro (1988)

4. Kiki’s Delivery Service (1989)

5. Porco Rosso (1992)

6. Princess Mononoke (1997)

7. Spirited Away (2001)

8. Howl’s Moving Castle (2004)

9. Ponyo (2008)

10. The Wind Rises (2013)

III. Various Others

1. Metropolis (2001)

2. Hotarubi No Mori E (2011)

3. In This Corner of the World (2016)

4. Redline (2009)

My Favorite Movies: 20-11

We are now coming to the point where animation starts overwhelming live-action. Three of the films are Hayao Miyazaki masterpieces. Hopefully, this list is enlightening for you and for me.

20. Anastasia (1997)

This movie came out when I was six or seven years old. I loved it and even had a Barbie doll for Anya. (Not sure what happened to it …) Anyway as I grew older I found new reasons to enjoy it. At first it was the humor and fantastical adventures that appealed to me. Now, it is everything else. Personally, the movie would have worked better if it did not have the villain and dark forces stuff. I think it takes away needed attention from Anya’s journey and final decision.

Though it is flawed, I love this simple story and the romance that blossoms between Dimitri and Ana. The music is also really nice and I know all the songs by heart. Personally, I think this is Don Bluth’s most cohesive film. Most of the characters from his films are … ugly and cartoony. In Anastasia, they look lifelike and could easily slip into the real world. Also, the visuals are really stunning in places and I love how St. Petersburg looks through the animation and backgrounds.

Favorite Quote(s):

1. Dowager Empress Marie: You were the boy, weren’t you – the servant boy who got us out? You saved her life and mine and you restored her to me. Yet you want no reward.

Dimitri: Not anymore.

Dowager Empress Marie: Why the change of mind?

Dimitri: It was more a change of heart. I must go.

2. [Anya and Dimitri have been arguing on the train – Vlad enters the compartment]

Anastasia: Oh, thank goodness it’s you!

[points to Dimitri]

Anastasia: Will you please remove him from my sight?

Vladimir: [to Dimitri] What have you done to her?

Dimitri: Me? It’s *her*!

Anastasia: HA!

[leaves]

Vladimir: Oh! An unspoken attraction!

Dimitri: *Attraction*? To that skinny little brat? Have you lost your mind?

Vladimir: I was only asking a simple question…

Dimitri: Attraction… ridiculous!

3. Vladimir: That’s what I hate about this government. Everything’s in red.

19. The Lion King (1996)

Many childhood days were spent watching and rewatching this glorious movie. The music, especially the background’s done by Hans Zimmer, gives me goosebumps and the story is enchanting. The movie feels BIG, like the whole world is reflecting back at you through the screen.

Lately, not as many are praising the film, which I think is a waste. Besides Beauty and the Beast, this is the best film Disney released during its Renaisannce. Some have issues with its similarity to Shakespeare’s Hamlet. (Pst that was done on purpose). Others just do not like it’s musical numbers. Then there are those who hate for the sake of hating. For myself, I love this movie and could watch it repeatedly for the rest of my life. As a side note, Scar is my favorite animated villain.

Favorite Quote(s):

1. Scar: I’m surrounded by idiots.

2. Rafiki: Look down there.

[Slowly Simba walks to the edge of the watering hole and peers inside. His reflection stares back at him]

Adult Simba: That’s not my father. That’s just my reflection.

Rafiki: No. Look harder.

[Rafiki touches the water which causes waves that change Simba’s reflection into Mufasa]

Rafiki: You see? He lives in you.

Mufasa’s Ghost: [From above] Simba.

Adult Simba: Father?

Mufasa’s Ghost: [He appears in the sky as a group of stars] Simba, you have forgotten me.

Adult Simba: No. How could I?

Mufasa’s Ghost: You have forgotten who you are and so have forgotten me. Look inside yourself Simba. You are more than what you have become. You must take your place in the Circle of life.

Adult Simba: How can I go back? I’m not who I used to be.

Mufasa’s Ghost: [Now fully formed in the sky] Remember who you are. You are my son and the one true king. Remember who you are.

Adult Simba: [Mufasa’s ghost begins to disappear] No! Please! Don’t leave me!

Mufasa’s Ghost: Remember.

Adult Simba: Father!

Mufasa’s Ghost: Remember.

Adult Simba: Don’t leave me.

Mufasa’s Ghost: Remember.

3. Young Simba: Dad?

Mufasa: Hmm?

Young Simba: We’re pals, right?

Mufasa: Right.

Young Simba: And we’ll always be together, right?

Mufasa: Simba, let me tell you something my father told me. Look at the stars. The great kings of the past look down on us from those stars.

Young Simba: Really?

Mufasa: Yes. So whenever you feel alone, just remember that those kings will always be there to guide you. And so will I.

18. Murder by Decree (1979)

I usually love Sherlock Holmes adaptations and films as a rule. Last December though, I came across this movie. It surprised me how well the clues melded into the story. More often then not, I figure out the mysteries in movies fairly well on my own. Not so here. It centers on the killings of Jack the Ripper and the political implications surrounding the gruesome murders of many women. Christopher Plummer is one of my favorite actors and plays Sherlock as a sophisticated, yet contemplative man.

Beneath the mystery lies a deeper tragedy. Since I hate to spoil a good mystery, I will remain silent. But there are moments, especially the ending where we see a different side of Sherlock lost to us in other adaptations that prefer to portray him as slightly mad or eccentric. There is a sadness and anger there against the injustices of the murders and their aim. I love this movie for that reason, a masterpiece lost in the annals of film.

Favorite Quote(s):

1. Sherlock Holmes: You create allegiance above your sworn allegiance to protect humanity. You shall not care for them, or acknowledge their pain. There lies the madness.

2. Sherlock Holmes: [to Lestrade] When people are frightened, they turn to God, and when they have no help from him, they look to the Devil.

3. Sherlock Holmes: We’ve unmasked madmen, Watson, wielding scepters. Reason run riot. Justice howling at the moon.

4. Prime Minister Lord Salisbury: You have us at a disadvantage, Mr. Holes. I think it might be better if you tell us your story in your own way and permit me to be the judge of whether it is true or not.

Sherlock Holmes: [Assertively] You may take it to be true, sir!

17. Princess Mononoke (1998)

It is hard to explain the genius of this movie let alone the painstaking care in each of its frames and its story. The director Miyazaki-san redrew at least half of the frames himself, so powerful was his dedication. It is a window into a different time where technology and deep, spiritual culture collided in heart-renching battles and encounters. Each side believes themselves the right but neither is truly the villain.

The genius lies in the main character Ashitaka and his purpose in the story; “To see with eyes unclouded” the hatred eating both sides alive from the inside out. Goodness, I love every aspect of this movie. The visuals are stunning. The character development and story flawless and the romance simple yet beautiful. There is a strange fog over American cinema that insists animation is childish. Not so, not so. This movie is mature, thought provoking and a spectacular watch every time. Also, Joe Hisaishi’s musical score is absolutely brilliant. You really should just see this movie for yourself to understand.

Favorite Quote(s):

1. San, The Princess Mononoke: Even if all the trees grow back, it won’t be his forest anymore. The Forest Spirit is dead.

Prince Ashitaka: Never. He is life itself. He isn’t dead, San. He is here with us now, telling us, it’s time for both of us to live.

2. Moro: [dying words] Ashitaka… Can you save the girl you love…?

3. Lady Eboshi: [Ashitaka interrupts the fight] What do you think you’re doing, boy?

Prince Ashitaka: Stay your hand. The girl’s life is now mine.

[San viciously bites Ashitaka’s arm]

Lady Eboshi: I’m sure she’ll make a lovely wife for you.

Prince Ashitaka: There’s a demon inside you. It’s inside both of you.

[the curse remanifests as a mass of worm-like tendrils, shocking everyone]

Prince Ashitaka: [to the crowd] Look, everyone! *This* is what hatred looks like! This is what it does when it catches hold of you! It’s eating me alive, and very soon it will kill me!

[San tries to make the curse leave her alone]

Prince Ashitaka: Fear and anger only makeit grow faster!

Lady Eboshi: I’m getting a little bored of this curse of yours, Ashitaka. Let me just cut the damn thing – *off!*

[swings her needle at Ashitaka]

4. San, The Princess Mononoke: Why did you stop me from killing her? Tell me while you’re still alive!

Prince Ashitaka: I didn’t want them to kill you. That’s why.

San, The Princess Mononoke: I’m not afraid to die. I’d do anything to get you humans out of my forest!

Prince Ashitaka: I knew that… from the first moment I saw you.

San, The Princess Mononoke: And I’m not afraid of you! I should *kill* you for saving her!

[San turns Ashitaka around, takes out his sword, and aims it inches over his neck]

San, The Princess Mononoke: That woman is evil, and there’s no one who can stop me from killing her.

Prince Ashitaka: No… Live…

San, The Princess Mononoke: That’s enough! I’m not listening to you anymore!

[presses tip to throat]

Prince Ashitaka: [opening his eyes] You’re… beautiful…

[San gasps, jumps back]

San’s Wolf Brother: What is it, San? Want me to crunch his face off?

[all stare at Ashitaka for a moment… until a rock sails in and breaks the moment]

5. [first lines]

Narrator: In ancient times, the land lay covered in forests, where, from ages long past, dwelt the spirits of the gods. Back then, man and beast lived in harmony, but as time went by, most of the great forests were destroyed. Those that remained were guarded by gigantic beasts who owed their allegiances to the Great Forest Spirit. For those were the days of gods and of demons…

16. Spirited Away (2001)

Even though I placed this ahead of Mononoke, they really are tied. Many critics consider this to be Miyazaki’s masterpiece and I would not argue with them. (Personally, I think he has several including this movie) The genius of this movie is its take on human interaction with spiritual creatures. One thing Western religion does not fully understand is the nature of the spirits and gods in Japanese folklore and religion. They are neither bad or good. Their opinion of humans varies and they are not past error. So, what seems to us cruelty when Chihiro’s parents change into pigs and the spirits mistreat Chihiro because she is human is really the perspective of ageless beings misused and forgotten by humans.

This movie has so many colors and dimensions. It’s animation is spectacular and the characters are complex and change very subtly. Also, it takes moments to step away from the intense action of some scenes for quiet reflection. One of the most iconic moments is when Chihiro rides the spirit train with No-face, who had minutes before tried to devour her. I showed this film to my students a few months ago. To my immense surprise, they loved it even more the the other movies I used for projects. I love its complexity and treatment of characters the most and still find new layers to the story and animation each time I watch it. Again, I also admire Joe Hisaishi’s musical score.

Favorite Quote(s):

1. Lin: What’s going on here?

Kamaji: Something you wouldn’t recognize. It’s called love.

2. [in Japanese]

Haku: Kamaji.

Kamajii: [wakes up] Oh, Haku, you’re awake.

Haku: Where’s Sen? What happened? Please, tell me.

Kamajii: Don’t you remember anything?

Haku: Just little pieces. Chihiro kept calling my name in the darkness. I followed her voice and woke up lying here.

Kamajii: Chihiro, huh? Her real name’s Chihiro? Can’t beat the power of love.

15. Lady and the Tramp (1954)

Believe it or not, the American Film Insititute put this on their list of top 100 most romantic American movies. I was shocked. It was the only animated movie besides Beauty and the Beast to make the list. I learned to love this movie in my early teens. Something about the romance appealed to me and I even remember a dream I once had about the movie where I tried to fix the mistakes some of the characters from the film made.

It is a sweet film, devoid of any villains or climatic battles. But not all films need that. Much like My Neighbor Totoro, it emphasizes real life and a simple, blossoming relationship. Though the animation does not do anything spectacular, there are moments like the Soagetti Dinner accompanied by “Belle Note” that stay with you.

Favorite Quote(s):

1. Lady: Oh! Oh, dear!

Tramp: Is something wrong, Pidge?

Lady: It’s morning.

Tramp: Yeah. So it is.

Lady: I should have been home hours ago.

Tramp: Why? Because you still believe in that old “in the faithful old dog tray” routine? Aw, come on, Pidge. Open up your eyes.

Lady: Open my eyes?

Tramp: To what a dog’s life can really be! I’ll show you what I mean. Look down there. Tell me what you see.

Lady: Well, I see nice homes, with yards and fences…

Tramp: Exactly. Life on a leash. Look again, Pige. Look, there’s a great big hunk of world down there, with no fence around it. Where two dogs can find adventure and excitement. And beyond those distant hills, who knows what wonderful experiences? And it’s all ours for the taking, Pige. It’s all ours.

Lady: It sound wonderful.

Tramp: But?

Lady: But who’d watch over the baby?

Tramp: [shaking his head] You win. Come on. I’ll take you home.

2. Joe: Here’s your bones-a, Tony.

Tony: Okay, bones. Bones? Whassa matta for you, Joe? I break-a your face-e! Tonight, Butch-a, he’s-a get the best in the house!

Joe: Okay, Tony! You the boss.

Tony: [Showing Tramp the menu] Now, tell me, what’s your pleasure? A la carte? Dinner?

[Tramp barks]

Tony: Aha, okay. Hey, Joe! Butch-a he say he wants-a two spaghetti speciale, heavy on the meats-a ball.

Joe: Tony, dogs-a don’t a-talk!

Tony: He’s a-talkin’ to me!

Joe: Okay, he’s a-talkin’ to you! You the boss!

[brings the spaghetti, muttering to himself in Italian; Tony snatches the spaghetti from him and serves it to the dogs]

Tony: Now, here you are-a, the best-a spaghetti in-a town.

3. Tony: Hey, Joe! Look! Butch-a, he’s got a new girlfriend.

Joe: Well, a-son of a gun! He’s a got a cockerel Spanish-a girl.

Tony: Hey, she’s pretty sweet kiddo, Butch. You take-a Tony’s advice and settle down with this-a one, eh? Hehehe.

Lady: “This-a one”?

Tramp: This-a one… this-a… Oh! Tony, you know. He’s-a not-a speak-a English-a pretty good.

14. The Fall (2006)

I am surprised as anyone how far up this film came. But, again, after careful reflection it makes sense. It touches on old films, depression and the imagination and emotionality of a young girl. Shot in 28 different countries in a span of four years, their are NO computer special effects anywhere. That is saying something. Some of the visuals like the towering Burial cloth for the bandit’s brother as well as the maze of stairs in the story hardly seem like they could ever be real.

What intrigued me was how the story the patient Roy Walker told the young girl Alexandria changed through her imagination. The Indian really looked like he came from India rather than the Native American Walker actually talked about. The African looked like he came from an African tribe rather than a newly freed American slave. And so on and so forth. But most interesting of all is the relationship between Alexandria and Walker, a broken hearted man using her to commit suicide. She does not know this of course. Anyway, this is the only rated R film on my list but it was terribly misrated. I would let my younger brother see this when he was ten. (As a treat, here are more images from the movie)

Favorite Quote(s):

1. Roy Walker: [finishing the story, both he and Alexandria are crying] He can’t win. That’s because our masked bandit is a coward. Yeah. He never took an oath, he’s a fake. He’s a liar and a coward.

Alexandria: You’re lying.

Roy Walker: No. He had his fingers crossed. He has to die.

Alexandria: I don’t believe you.

Roy Walker: He’s dying.

Alexandria: Don’t kill him.

Roy Walker: There’s nothing left for him.

Alexandria: His daughter.

Roy Walker: He wasn’t her father, either.

Alexandria: She loves him.

Roy Walker: She’ll survive, she’s good.

Alexandria: I don’t want you to die. Roy. Don’t kill him. Let him live. Let him live. Don’t kill him. Roy? Promise? And don’t cross your fingers.

Roy Walker: Promise.

Alexandria: Show me your hands.

Roy Walker: [raises his hands] See?

2. Luigi: [reading from Evelyn’s locket] My dearest daughter, never marry for money, fame, power or security. Always follow your heart. Your ever loving father…

Blue Bandit: It says all that on that little locket?

Luigi: Si.

3. Alexandria: You always stop at the same part, when it’s very beautiful. Interesting.

13. Pride and prejudice (2005)

Maybe because I am not an English major, I like this WAY more than the BBC miniseries. Before anyone calls me a heathen, I have legitimate reasons for this. Firstly, the book if adapted entirely for film does not run smoothly. Frankly, it is boring. Secondly, the cinematography suffers under such a low budget production. The visuals are watered down and as such are dull. Lastly, I do not like how they handled the romance between Elizabeth and Mr. Darcy.

That aside, everything I said does not work in the BBC version plays splendidly in this movie. The visuals are gorgeous, the story easy to follow and the romance palpably believable and moving. Roger Ebert, the only film critic I really take seriously, stated,

But a lot must happen before the happy ending, and I particularly admired a scene in the rain where Darcy and Lizzie have an angry argument. This argument serves two purposes: It clears up misunderstandings, and it allows both characters to see each other as the true and brave people they really are. It is not enough for them to love each other; they must also love the goodness in each other, and that is where the story’s true emotion lies. . .

When Lizzie and Darcy finally accept each other in “Pride & Prejudice,” I felt an almost unreasonable happiness. Why was that? I am impervious to romance in most films, seeing it as a manifestation of box office requirements. Here is it different, because Darcy and Elizabeth are good and decent people who would rather do the right thing than convenience themselves. Anyone who will sacrifice their own happiness for higher considerations deserves to be happy. When they realize that about each other their hearts leap, and, reader, so did mine.

That basically surmises my own feelings for this wonderful romance. The music is enchanting, the acting is phenomenal and I thoroughly care about Darcy and Lizzy’s happiness. That is a rare thing for me, for I also seldom like generated romantic movies.

Favorite Quote(s):

1. Mr. Darcy: You must know… surely, you must know it was all for you. You are too generous to trifle with me. I believe you spoke with my aunt last night, and it has taught me to hope as I’d scarcely allowed myself before. If your feelings are still what they were last April, tell me so at once. My affections and wishes have not changed, but one word from you will silence me forever. If, however, your feelings have changed, I will have to tell you: you have bewitched me, body and soul, and I love, I love, I love you. I never wish to be parted from you from this day on.

2. Elizabeth Bennet: And that put pain to it. I wonder who first discovered the power of poetry in driving away love?

Mr. Darcy: I thought that poetry was the food of love.

Elizabeth Bennet: Of a fine stout love, it may. But if it is only a vague inclination I’m convinced one poor sonnet will kill it stone dead

Mr. Darcy: So what do you recommend to encourage affection?

Elizabeth Bennet: Dancing. Even if one’s partner is barely tolerable.

3. [ordered to order Lizzie to accept Mr. Collins’s proposal]

Mr. Bennet: Your mother insists on you marrying Mr. Collins…

Mrs. Bennet: Yes! Or I’ll never see her again!

Mr. Bennet: Well, Lizzy, from this day henceforth it seems you must be a stranger to one of your parents…

Mrs. Bennet: Who will maintain you when your father’s gone?

Mr. Bennet: Your mother will never see you again if you do not marry Mr. Collins… and I will never see you again if you do.

Mrs. Bennet: Mr. Bennet!

Elizabeth Bennet: Thank you, Papa.

4. Mr. Bennet: Lizzy, are you out of your senses? I thought you hated the man.

Elizabeth Bennet: No, Papa.

Mr. Bennet: He’s rich, to be sure, and you will have more fine carriages than Jane. But will that make you happy?

Elizabeth Bennet: Have you no objection other than your belief in my indifference?

Mr. Bennet: None at all. We all know him to be a proud, unpleasant sort of fellow… but that would be nothing if you really liked him.

Elizabeth Bennet: I do like him.

Mr. Bennet: Well…

Elizabeth Bennet: I love him.

12. The Thief and the Cobbler (?)

I often feel so torn when I think about this movie. It tragically was never truly finished by its creator Richard Williams ( Think of the mind behind Who Framed Roger Rabbit, 1988) one of the most underrated geniuses of hand drawn animation. After 28 painstaking years in development, Warner Bros. took the film away from him and made it into a botched version of Disney’s Aladdin (1992). Here is a statement that will lift some eyebrows. As it was originally intended, this film is far superior to Disney’s film.

The visuals are beautiful, intricate and transport you to Baghdad of old in ways Disney’s did not. Do not get me wrong, I thoroughly admire Disney’s animation for that movie. But it is here with The Thief and the Cobbler that it almost reaches perfection. What I hate most about the botched version released without Williams is that they were scared it was too much like Aladdin so they changed the story. Ironically, by adding in musical numbers and drastically twisting the plot it did copy cat it. I love this movie and hope that someday someone finally truly finishes Willams unfinished masterpiece.

Favorite Quote(s):

1. [last lines]

[original version]

Princess Yum-Yum: I love you.

[Tack takes the tacks from his mouth at last]

Tack the Cobbler: And I love you.

[they hug]

(Disclaimer for my family: I still love the thief’s lines from the 1995 version! I promise!)

11. My Neighbor Totoro (1988)

Recently, a blogger for YouTube reviewed this movie after seeing it for the first time. He stated that if not for children this is one of the most menial animated films he had ever seen. In his mind, because there was no villain, traumatic problems, moral lessons or action it was pointless. You can imagine how surprised I felt, if not a little angry. He horribly misinterpreted this movie. Originally, it was not the success it now is in Japan. The 80’s, especially in Japan, meant crime fighting, explosions and superpowers. Before Totoro, Miyazaki-san released two other spectacular films Laputa: Castle in the Sky and Nausicca: Valley of the Wind which deferred to popular media but had hidden sparks of the more gentle scenes and heroes from his later movies. When he released Totoro into theaters, it did not do well at all. It was not until it was released to home television that it received its deserved attention.

People loved it. Many said it reminded them of their childhood homes and experiences. For myself, this movie was a BIG part of my childhood. I could watch it without fear of monsters or drama. This movie represents the beauty and innocence of childhood: it’s wonder and how close children are to viewing the real world and its magic.

I defer again to Roger Ebert, who (AS AN ADULT VIEWER) placed it on his Great Movies list.

Here is a children’s film made for the world we should live in, rather than the one we occupy. A film with no villains. No fight scenes. No evil adults. No fighting between the two kids. No scary monsters. No darkness before the dawn. A world that is benign. A world where if you meet a strange towering creature in the forest, you curl up on its tummy and have a nap.

. . . ‘My Neighbor Totoro” is based on experience, situation and exploration–not on conflict and threat.

. . . There is none of the kids-against-adults plotting of American films. The family is seen as a safe, comforting haven. The father is reasonable, insightful and tactful, accepts stories of strange creatures, trusts his girls, listens to explanations with an open mind. It lacks those dreary scenes where a parent misinterprets a well-meaning action and punishes it unfairly.

I’m afraid that in praising the virtues of ”My Neighbor Totoro” I have made it sound merely good for you, but it would never have won its worldwide audience just because of its warm heart. It is also rich with human comedy in the way it observes the two remarkably convincing, lifelike little girls (I speak of their personalities, not their appearance). It is awe-inspiring in the scenes involving the totoro, and enchanting in the scenes with the Cat Bus. It is a little sad, a little scary, a little surprising and a little informative, just like life itself. It depends on a situation instead of a plot, and suggests that the wonder of life and the resources of imagination supply all the adventure you need.

This is the movie of my childhood of course. But as an adult it is a reminder that the world is loving and beautiful. We need more films like this, but alas our culture seems to revel in drama and suspense. Those are not bad, but sometimes we need to sit back, be still and let ourselves enjoy the joy of living.

Favorite Quote:

1. Tatsuo Kusakabe: Trees and people used to be good friends. I saw that tree and decided to buy the house. Hope Mom likes it too. Okay, let’s pay our respects then get home for lunch.

(Most of the scenes I love have little to no dialogue.)

ハウルの動く城, Hauru no Ugoku Shiro (Howl’s Moving Castle), 2004

Based on the extremely popular {and HILARIOUS} fantasy novel written by Diana Wynne Jones in 1986, Howl’s Moving Castle garnered praise from film critics world wide as one of Hayao Miyazaki’s most colorful and enjoyable animated films. It was nominated for an Academy Award in 2006 as best animated film and has since won numerous other awards including the Osella Award for Technical Achievement at the 61st Venice Film Festival. Film Critic Peter Travers praised it stating, “There’s a word for the kind of comic, dramatic, romantic, transporting visions Miyazaki achieves in Howl’s: bliss.” Despite all the wonderful things said about it, there were many people who see this film as Miyazaki’s weakest work.

This was the second Hayao Miyazaki film I ever watched. It is because of it that I became interested in his other works. In fact I would often tell people, if they asked, that it was my absolute favorite film. It seems strange that I am only writing my review for it now. I guess I have put it off because of doubts I had about its genuine mastery {I blame Roger Ebert for that}.

Recently however I watched it again, paying special attention to its animation and story, and bought the art book, which contains myriads of original story boards and concept sketches. In it, I came across a reflection written by the supervising animator Kitaro Kosaka, who said something I will never forget:

Although I was impressed by his approach to characters, what really amazed me was his incredible talent as a filmmaker. This film differs from his previous films insofar as the story assumes the perspective of the characters. We did our best to delete an explicit omniscient point of view or explanatory scenes. That’s part of the film’s appeal. The story is packed with stimulating scenes, and watching the story unfold is an enthralling experience for both adults and children. I really thought, ‘This is amazing.’

Despite deep criticisms against it, I took a step back and examined it from an untainted perspective. I recalled the feelings I had when I watched it for the first time when I was seventeen. Starry-eyed and taken aback I had thought to myself “This is magic.” To my relief, I still believe it.

The story begins in a quaint hat shop where Sophie Hatter works as one of the seamstresses. As the other girls giggle about May Day they spot Howl’s castle moving through the hills. Uninterested, Sophie leaves separately from the others and embarks into town to meet her sister Lettie. However, when she moves to escape the crowds she is stopped by two soldiers who try to bully her into having a drink with them. Suddenly an elegantly dressed blond man steps beside her and playfully removes the soldiers, before assuming the role as her escort. While walking with him, they are pursued by top hatted blob men {Yes blob men} who work for the witch of the waste. They evade them as Howl thrusts them into the air and magically walks her to the top balcony of Lettie’s bakery. This encounter, catches the attention of the witch of the waste, who visits Sophie in her hat shop and changes her into an old woman, who can’t tell anyone she is cursed. From there she leaves her dull life and becomes a cleaning lady in Howl’s castle.

I would rather not spoil this movie for anyone who hasn’t had the privilege of watching it. The plot, though its seems vague in the beginning, takes on a new clarity by the end of the film. In order to fully grasp its story, it is necessary to carefully watch each of the characters, because it is told solely from imagery.

There are no long monologues or dramatic discoveries, rather it is as though we are plunged headfirst into their memories. Because the film was organized this way, the character’s physical and psychological changes seem so natural and flow so easily it is hard to even notice they happen. By the end of the film, they are completely different people, not because we finally understand them but because they really have changed exponentially either out of their love for another person or by dramatic events that force them to switch sides.

Knowing the overall film making process, especially for animated films, completely changes your perspective of Howl’s Moving Castle. This is especially true in the conception of the film’s most dynamic character, the moving castle. Before, I had simply been fascinated by the mysterious way the castle moved. In fact, the first time I saw it I was torn between two conflicting questions: “What on earth is that thing?” and “How did they do it (meaning how did they make it move so intricately)?”

Now, it is as if the puzzle pieces have finally come together. In order to make the castle’s incredible movements possible, animators relied on CG effects which effectively put together all the painted pieces of the castle and brought it to life. For even those who don’t like this movie, it is impossible to not stand in awe of such a beautiful animated achievement.

They used similar tactics in scenes like the black hole that spread underneath Sophie as she looked on at a younger Howl, and in sweeping background movements as the characters ran or when they were in moving vehicles.

Myazaki-san designed the castle himself and has a knack for creating magical elements in his films in ways that other animators and designers couldn’t possibly do themselves. Who else would have conceived such a perplexing character as the moving castle?

It isn’t strange for essentially non-living buildings or places to become main characters in such stories. For example, in The Hunchback of Notre Dame though the cathedral technically can’t be considered a living, breathing thing it is referred to as a real person (specifically a motherly figure). Often the mood of the cathedral directly reflected those of the characters or intense events such as the execution of the gypsy Esmeralda when it hovered over the pyre angrily, red and menacing because of the fires.

Though such a viewpoint is not as dramatic in Howl’s Moving Castle, there are still times where it seems like the almost amphibious castle has a life of its own. Naturally, this is because it has a lifelike structure. It moves on four clawed legs and even has a mouth and eyes.

As in all Miyazaki-san’s films, his other characters are as simple as they are complex. Never in any of his works will you ever see copy cut-out’s or unoriginal stereotypes. Describing and understanding the characters is almost impossible even after one sees the movie many times. As I have said in my other reviews of his movies, this is because he doesn’t create characters. It is almost as if he is telling stories about real people.

Sophie in the beginning comes across as detached, sullen and shy, overshadowed by her flamboyant mother and pretty younger sister Lettie. This makes her in no way cruel or unlikable. It is actually quite interesting to see how much she opened up and relaxed when it was only expected that she was plain and un-extraordinary. If anything, Howl’s Moving Castle is a testament that a person’s self-perception not only changes how others see them but who they become. In other words, because she believed that she was plain, boring and of little merit it reflected on how she and others saw and treated her.

What is intriguing is how much she changed when she no longer focused solely on herself. I know this sounds corny, but it is because she fell in love with Howl that she overcame her curse. This was a curse that she had put on herself. The author Catherynne M. Valente put it the best in her book The Girl Who Soared Over Fairyland and Cut the Moon in Two (2013). In quoting the Undercamel from Pluto, her pawless yeti stated, “What others call you, you become. It’s a terrible magic that everyone can do -so do it. Call yourself what you wish to become.” No one really talked about how or when she suddenly became young again. It simply happened and her closest friends accepted the change as if she had only switched outfits. Perhaps this was because they had seen beyond her physical appearance at the person hidden deep inside her.

Of all the characters, Howl is the one who changes the most subtlety. His soft, nonchalant personality doesn’t dramatically shift. Unlike in Jones’ original novel, he is never considered by anyone to really be evil or terrible. Yes it is said in passing, but it isn’t taken seriously. Because the audience first sees him as Sophie’s mysterious, gallant rescuer he is portrayed as the exact opposite. His motives don’t come across as selfish or laden with ulterior motives, rather the best way to describe him is easygoing or carefree. He lives within the bounds of what is convenient and detaches himself from anything troublesome.

Like Sophie, it is obvious that he is too focused on himself and the way he looks. He also masks himself to escape from his problems, except he does it through fancy, bright styles rather than dowdy cloths. It isn’t until the fateful (and side splitting) bathroom disaster when his world comes crumbling down {basically his hair turned orange instead of the usual beautiful blond color he liked and he threw a tantrum}.

Afterwards, the facade is gone and he lets his barrier down. The past terrified him both because of the mistakes he had made with people like Suliman and the Witch of the Waste and also the fateful decision he had made in his youth.

Yet, I think that while watching Sophie he finally let go of his fear. He even told Sophie “I am tired of running away Sophie, and now I finally have something I want to protect. It’s you.” In his own way I think that he is an admirable person. He fought against the cruel war and obviously cared about people. All in all, I think of all of Miyazaki-san’s heroes he is the most simple and unassuming.

I wanted to mention the other characters briefly, though they aren’t as important to the main story-line. The main “villian” is obviously the Witch of the Waste. In this film however the witch isn’t killed or banished, rather she loses her magic and becomes a part of their family.Naturally, because American audiences have absorbed stereotypical villian vs. heroe movies for so long it is expected that there be a flashy battle where good triumphs over evil. Miyazaki-san doesn’t create movies with this mentality. The supervising animator Akihiko Yamashita put it this way:

… if I had directed Howl’s Moving Castle, I think it would have been a war between wizards where Howl would ward off the Witch of the Waste. But Miyazaki wasn’t interested in portraying the witch as evil. His open-minded approach was very inspiring.

His approach doesn’t surprise me, because in all his movies I have only ever seen one true blue villain and that was Colonel Moskow from Laputa Castle in the Sky. I think this approach in film-making is needed. True, there are some stories that NEED villains like those in Disney’s Snow White and the Seven Dwarfs (1937) or Pinocchio (1940) but other times, most of the time, it isn’t that easy or wise to label people as evil or good based only on what we see.

The other characters like Markl and Calcifer add a needed charm and buoyancy to the plot and contribute to the plot’s simple magic without being overbearing. They change too by the end of the film but their’s comes more as a result of Howl and Sophie’s transformation.

Howl and Sophie’s romance is definitely less dramatic than it is in the book. Jones’ original characters constantly yelled at each other and threw tantrums. At one point, Sophie in a jealous fit poisons a vase of flowers and then goes on a rampage outside of their mansion with a jug of weed killer. This love story in the film adaptation is definitely more delicate.

Like Sophie’s transformation, their love story unfolded gracefully and developed almost like a flower opening after a rain shower. By the time Howl takes Sophie on their walk to his childhood cottage, it seems only natural when they walk arm in arm like young lovers through the fields of flowers. It is even less shocking when Howl cries, after Sophie harshly calls herself dull and only good for cleaning, “Sophie, Sophie you’re beautiful” and sadly watches as she shrivels back into an old woman.

There is no reason to worry about their future or whether they will be together, because they suit one another so naturally. They both have quiet personalities and aren’t forced to change for the other person. Rather, they change because of the other person without even realizing it themselves.

There hasn’t been nor will there ever be a film like this one. Personally, I think that of all his films it is the brightest and it flows with magic only imagined through dreams and childhood fantasies. Laden within this fantastic world are also subtle lessons against war, self esteem and like in many of his other films the power of true love. This kind of love isn’t very dramatic but it is powerful. Why? Because it is real. It is impossible to question its authenticity because it seems so natural and it happens so gradually. In other words, it develops and embeds itself rather than being foolishly grasped or thrust away while the characters are frantically running from yet towards each other.

I find it so strange that so few take animation seriously when it has become one of the most powerful storytelling arts. Only through animation could they have brilliantly told a story such as this one. That is the magic of Miyazaki-san’s true animated masterpieces. He opens for worldwide audiences a window into the spectacular without resorting to petty plots or moral challenging scenes. They are beautifully simplistic and unforgettable.

I can’t go against the wonderful feeling I have had since I first watched it five or six years ago. This will forever stay one of my favorite films and I believe in its own way that it is a masterpiece. Take it as you will, but remember that sometimes the most brilliant of stories don’t need to shout or scream. Some just unfold like a dream.

FAVORITE QUOTE:

Sophie: Please. Howl. I’m sure I could be of help to you. {PAUSE} Even though I’m not pretty. . . {PAUSE} and all I’m good at is cleaning.

Howl: Sophie! Sophie you’re beautiful!

{Sophie becomes an old woman again}

Sophie: Well, the nice thing about being old is that you’ve got nothing left to lose.

SECOND FAVORITE: {I couldn’t resist}

[Howl comes running out of the bathroom, screaming. His hair is now orange]
Howl: Sophie! You, you sabotaged me! Look! Look at what you’ve done to my hair! Look!
Old Sophie: What a pretty color.
Howl: It’s hideous! You completely ruined my magic potions in the bathroom!
Old Sophie: I just organized things, Howl. Nothing’s ruined.
Howl: Wrong! Wrong! I specifically ordered you not to get carried away!

[tragically]
Howl: Now I’m repulsive.

[slumps into a chair]
Howl: I can’t live like this.

[starts sobbing, head in hands]
Old Sophie: Come on, it’s not that bad.

[Howl’s hair changes color to purple, then black]
Old Sophie: You should look at it now, its shade is even better.
Howl: [inconsolable] I give up. I see not point in living if I can’t be beautiful.